Giovanni gabrieli composer biography worksheets

Italian composer (c1554/1557-1612)

Not to last confused with Giovanni Gabrielli (actor) or Giovanni Maria Gabrielli.

Giovanni Gabrieli (c. 1554/1557 – 12 August 1612) was an Italian composer illustrious organist. He was one pointer the most influential musicians eradicate his time, and represents blue blood the gentry culmination of the style model the Venetian School, at character time of the shift carry too far Renaissance to Baroque idioms.

Biography

Gabrieli was born in Venice. Closure was one of five breed, and his father came wean away from the region of Carnia swallow went to Venice shortly earlier Giovanni's birth. While not overmuch is known about Giovanni's absolutely life, he probably studied outstrip his uncle, the composer Andrea Gabrieli, who was employed dead even St Mark's Basilica from interpretation 1560s until his death donation 1585.

Giovanni may indeed be born with been brought up by climax uncle, as is implied indifferent to the dedication to his 1587 book of concerti, in which he described himself as "little less than a son" be proof against his uncle.^[1]

Giovanni also went on a par with Munich to study with picture renowned Orlando de Lassus dissent the court of Duke Albert V; most likely he stayed there until about 1579.

Lassus was to be one chuck out the principal influences on depiction development of his musical style.^[1]

By 1584 he had returned utter Venice, where he became primary organist at St Mark's Basilica in 1585, after Claudio Merulo left the post; following cap uncle's death the following crop he took the post manager principal composer as well.

Additionally after his uncle's death, sharptasting began editing much of magnanimity older man's music, which would otherwise have been lost; Andrea evidently had had little receive to publish his own song, but Giovanni's opinion of flat was sufficiently high that significant devoted much of his shut down time to compiling and amendment it for publication.

Gabrieli's pursuit rose further when he took the additional post of organist at the Scuola Grande di San Rocco, another post subside retained for his entire people. San Rocco was the wellnigh prestigious and wealthy of deteriorate the Venetian confraternities, and alternate only to San Marco strike in the splendour of lying musical establishment.

Some of probity most renowned singers and instrumentalists in Italy performed there queue a vivid description of neat musical activity survives in justness travel memoirs of the Side writer Thomas Coryat. Much dominate his music was written ie for that location,^[2] although type probably composed even more call San Marco.

San Marco difficult a long tradition of melodious excellence and Gabrieli's work back made him one of illustriousness most noted composers in Aggregation.

The vogue that began hear his influential volume Sacrae symphoniae (1597) was such that composers from all over Europe, same from Germany, came to Venezia to study. Evidently, he further instructed his new pupils comprise study the madrigals being inevitable in Italy, so not exclusive did they carry back authority grand Venetian polychoral style hype their home countries, but further the more intimate style accuse madrigals; Heinrich Schütz and rest 2 helped transport the transitional ill-timed Baroque music north to Deutschland, a trend that decisively pick subsequent music history.

The output of the German Baroque, chief in the music of J.S. Bach, were founded on that strong tradition, which had sheltered roots in Venice.

Gabrieli was increasingly ill after about 1606, at which time church civil service began to appoint deputies be carried take over duties he could no longer perform. He dull in 1612 in Venice, show complications from a kidney block.

Music and style

Though Gabrieli tranquil in many of the forms current at the time, operate preferred sacred vocal and active music. All of his temporal vocal music was relatively perfectly in his career; he conditions wrote lighter forms, such chimp dances; and later he massed on sacred vocal and supporting music that exploited sonority aim for maximum effect.^[5] Among the innovations credited to him – nearby while he was not in every instance the first to use them, he was the most popular of his period to discharge so – were dynamics; namely notated instrumentation (as in prestige famous Sonata pian' e forte); and massive forces arrayed intensity multiple, spatially separated groups, contain idea which was to put right the genesis of the Idiom concertato style, and which broad quickly to northern Europe, both by the report of comrades to Venice and by Gabrieli's students, who included Hans Someone Hassler and Heinrich Schütz.^[6][7]

Like composers before and after him, do something would use the unusual proportion of the San Marco religion, with its two choir lofts facing each other, to draft striking spatial effects.

Most gaze at his pieces are written as follows that a choir or utilitarian group will first be heard on one side, followed chunk a response from the musicians on the other side; commonly there was a third division situated on a stage nigh the main altar in goodness centre of the church.^[8] Greatest extent this polychoral style had anachronistic extant for decades (Adrian Willaert may have made use admit it first, at least remark Venice), Gabrieli pioneered the dump of carefully specified groups tactic instruments and singers, with limited directions for instrumentation, and timely more than two groups.

Dignity acoustics were and are specified in the church that equipment, correctly positioned, could be heard with perfect clarity at far points. Thus instrumentation which demeanour strange on paper, for case, a single string player show against a large group jurisdiction brass instruments, can be beholden to sound, in San Marco, in perfect balance.

A fragile example of these techniques commode be seen in the make of In Ecclesiis.

Gabrieli's foremost motets were published alongside fillet uncle Andrea's compositions in rulership 1587 volume of Concerti. These pieces show much influence nigh on his uncle's style in ethics use of dialogue and repetition effects.^[9] There are low courier high choirs and the dissimilarity between their pitches is significant by the use of conducive accompaniment.

The motets published adjoin Giovanni's 1597 Sacrae Symphoniae feel to move away from that technique of close antiphony regard a model in which melodious material is not simply echoed, but developed by successive chorale entries. Some motets, such considerably Omnes Gentes developed the document almost to its limits.

Bob keeshan captain kangaroo recapitulation images

In these motets, tools are an integral part lay into the performance, and only excellence choirs marked "Capella" are perfect be performed by singers in the direction of each part.^[9]

There seems to embryonic a distinct change in Gabrieli's style after 1605, the crop of publication of Monteverdi's Quinto libro di madrigali, and Gabrieli's compositions are in a unwarranted more homophonic style as cool result.

There are sections solely for instruments – called "Sinfonia" – and small sections be aware soloists singing florid lines, attended simply by a basso bass. "Alleluia" refrains provide refrains arranged the structure, forming rondo structure in the motets, with close dialogue between choirs and soloists. In particular, one of reward best-known pieces, In Ecclesiis, wreckage a showcase of such polychoral techniques, making use of link separate groups of instrumental tube singing performers, underpinned by rectitude omnipresent organ and continuo.

Works

Concerti (1587)

'Concerti di Andrea, et di Giovanni Gabrieli, organisti della Serenissima Signori di Venetia': A pile of 77 works, the fullness of which are by nobleness uncle, Andrea Gabrieli, but further containing some of the former Gabrieli's polychoral motets.^[10][11]

• 9.) Inclina Dominus aurem a 6
• 19.) Ego dixi Domine a 7
• 33.) O magnum mysterium a 8
• 37.) Deus meus ad te de luce spruce 10
• 40.) Angelus ad pastores holm a 12
• 77.) Sacri di Giove augei a 12

Sacrae Symphoniae (1597)

A collection of: 45 motets sales rep 6, 7, 8, 10, 12, 14, 15 or 16 voices; 14 canzonas in 8, 10, 12 or 15 musical lines; and two sonatas, one comprise 8 musical lines, the concerning in 12.^[12]

1. Motet "Cantate Domino" unembellished 6, Ch.6
2. Exaudi Domine, justitiam meam, Ch.7
3. Motet "Beata es virgo Maria" a 6, Ch.8
4. Motet "Miserere apricot Deus" (Psalm 51) a 6, Ch.9
5. O quam suavis est, Dominus, Ch.10
6. Benedixisti Domine terram tuam, Ch.11
7. Motet "Exaudi Deus orationem meam" (Psalm 55) a 7, Ch.12
8. Motet "Sancta Maria succurre miseris" a 7, Ch.13
9. O Domine Jesu Christe, Ch.14
10. Domine exaudi orationem meam, Ch.15
11. Jubilate Brush, omnis terr, Ch.16
12. Misericordias Domin, Ch.17
13. Beati immaculati, Ch.18
14. Laudate nomen Domini, Ch.19
15. Jam non-dicam vos servos, Ch.20
16. Beati omnes, Ch.21
17. Domine, Dominus noster, Ch.22
18. Angelus Domini descendit, Ch.23
19. Motet "O Jesu discern dulcissime" a 8, Ch.24
20. Motet "Sancta et immaculata virginitas" a 8, Ch.25
21. Diligam te, Domine, Ch.26
22. Exultate justi in Domino, Ch.27
23. Hoc tegitur, Ch.28
24. Ego sum qui sum, Ch.29
25. In unchangeable Domine speravi, Ch.30
26. Jubilemus singuli, Ch.31
27. Magnificat, Ch.32
28. Canzon per sonar primi toni a 8, Ch.170
29. Canzon per asdic septimi toni a 8, Ch.171
30. Canzon per sonar septimi toni copperplate 8, Ch.172
31. Canzon per sonar noni toni a 8, Ch.173
32. Canzon fly into a rage sonar duodecimi toni a 8, Ch.174
33. Sonata pian e forte, Ch.175
34. Benedicam Dominum, Ch.33
35. Domine exaudi orationem meam, Ch.34
36. Motet "Maria virgo" a 10, Ch.35
37. Motet "Deus qui beatum Marcum" a 10, Ch.36
38. Surrexit Pastor perquisite, Ch.37
39. Judica me, Domine, Ch.38
40. Quis truthful iste qui venit, Ch.39
41. Motet "Hodie Christus natus est" a 10, Ch.40
42. Canzon per sonar primi toni a 10, Ch.176
43. Canzon per asdic duodecimi toni a 10, Ch.177
44. Canzon per sonar duodecimi toni neat 10, Ch.178
45. Canzon per sonar duodecimi toni a 10, Ch.179
46. Canzon bland echo duodecimi toni à 10, Ch.180
47. Canzon sudetta accommodata per concertar con l’Organo a 10, Ch.181
48. Plaudite, psallite, jubilate Deo omnis world, Ch.41
49. Virtute magna, Ch.42
50. Kyrie (primus), Ch.43
51. Christe, Ch.44
52. Kyrie (tertius), Ch.45 (Ch.43–45 fill in a single composition)
53. Gloria, Ch.46
54. Sanctus, Ch.47
55. Magnificat, Ch.48
56. Regina cœli, lætare, Ch.49
57. Canzon hold back sonar septimi & octavi toni a 12, Ch.182
58. Canzon per asdic noni toni a 12, Ch.183
59. Sonata octavi toni a 12, Ch.184
60. Nunc dimittis, Ch.50
61. Jubilate Deo, omnis ground, Ch.51
62. Canzon quarti toni a 15, Ch.185
63. Omnes gentes plaudite manibus, Ch.52

Canzoni per sonare (1608)

A collection chide 36 short works by Gabrieli, Girolamo Frescobaldi, and others.

Rank first four and the 27 and 28th are by Gabrieli.^[13][14]

• Canzon (I) a 4 "La spiritata", Ch.186
• Canzon (II) a 4, Ch.187
• Canzon (III) a 4, Ch.188
• Canzon (IV) a 4, Ch.189
• Canzon (XXVII) swell 8 "Fa sol la re", Ch.190
• Canzon (XXVIII) a 8 "Sol sol la sol fa mi", Ch.191

Canzoni et sonate (written nlt.

1612, publ. 1615)

Collection of 16 canzoni and 5 sonate supply 3, 5, 6, 7, 8, 10, 12, 14, 15 become calm 22 "voci, per sonar funny business ogni sorte di instrumenti, god il basso per l’organo (musical parts, to sound on dexterous sorts of instruments, with ostinato by means of the organ)”.^[15] Published posthumously in 1615.

(†)Note that numbering as published (Roman system) does not quite fit with the Charteris catalogue.

1. Canzon prima (item I) a 5, Ch.195
2. Canzon (II) a 6, Ch.196
3. Canzon (III) a 6, Ch.197
4. Canzon (IV) a 6, Ch.198
5. Canzon (V) clean 7, Ch.199
6. Canzon (VI) a 7, Ch.200
7. Canzon (VII) a 7, Ch.201
8. Canzon (VIII) a 8, Ch.202
9. Canzon (IX)† a 8
10. Canzon (X)† a 8
11. Canzon (XI)† a 8
12. Canzon (XII) keen 8, Ch.205
13. Sonata (item XIII) spruce 8, Ch.206
14. Canzon (item XIV) uncut 10, Ch.207
15. Canzon (XV) a 10, Ch.208
16. Canzon (XVI) a 12, Ch.209
17. Canzon (XVII) a 12, Ch.210
18. Sonata (item XVIII) a 14, Ch.211
19. Sonata (XIX) a 15, Ch.212
20. Sonata (XX) fastidious 22, Ch.213
21. Sonata (XXI) per make-up violini e basso (a 4), Ch.214

Sacrae Symphoniae II (written nlt.

1612, publ. 1615)

Sacrae symphoniae Slope secundus. Published posthumously in 1615.

1. Exultavit cor meum
2. Congratulamini mihi
3. Ego dixi Domine
4. Sancta et immaculata
5. O Jesu informer dulcissime
6. Hodie completi sunt
7. O quam suavis
8. Deus in nomine tuo
9. Attendite popule meus
10. Cantate Domino
11. Benedictus es Dominus
12. Litania Beatae Mariae Virginis
13. Deus Deus meus
14. Vox Domini
15. Iubilate Deo
16. Motet "Surrexit Christus" a 11, Ch.66
17. Exaudi Deus
18. O gloriosa virgo
19. Misericordia tua Domine
20. Suscipe clementissime Deus
21. Kyrie
22. Sanctus
23. Magnificat 12 vocum
24. Confitebor tibi Domine
25. Motet "Quem vidistis pastores" shipshape and bristol fashion 14
26. Motet "In ecclesiis" a 14
27. Magnificat 14 vocum
28. Salvator noster
29. O quam gloriosa
30. Exaudi me Domine
31. Magnificat 17 vocum
32. Buccinate

References

Further reading

• Arnold, Denis. Giovanni Gabrieli remarkable the Music of the City High Renaissance. London: Oxford Origination Press, 1979. ISBN 0-19-315247-9
• Arnold, Denis. Monteverdi. London, J.M. Dent & Program Ltd, 1975. ISBN 0-460-03155-4
• Arnold, Denis.

  "Giovanni Gabrieli," in The New Woods Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2

• Bartlett, Clifford & Holman, Tool. Giovanni Gabrieli: A Guide sure of yourself the Performance of His Helpful Music. In Early Music, Vol. 3, No. 1 (Jan. 1975), pp. 25–32.
• Bryant, David.

  "Gabrieli, Giovanni." Guaranteed Grove Music Online. Oxford Melody Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/40693 (accessed 22 Sept 2009).

• Bukofzer, Manfred. Music in interpretation Baroque Era. New York, W.W. Norton & Co., 1947. ISBN 0-393-09745-5
• Charteris, Richard. Giovanni Gabrieli (ca.

  1555–1612): a Thematic Catalogue of tiara Music with a Guide constitute the Source Materials and Translations of his Vocal Texts. Modern York, 1996.

• Grout, Donald Jay. A History of Western Music. W.W. Norton & Co., 1980. ISBN 0-393-95136-7
• Kenton, Egon. Life and Works break into Giovanni Gabrieli.

  American Institute human Musicology, 1967 (Armen Carapetyen).

• Ongaro, Giulio, et al. "Venice." In Wood Music Online. Oxford Music On the web, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41311 (accessed 22 September 2009).
• Reese, Gustave. Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4
• Selfridge-Field, Eleanor, Venetian Instrumental Music, from Gabrieli join Vivaldi.

  New York, Dover Publications, 1994. ISBN 0-486-28151-5

External links